635 




The Peregrinations 
of Polly 




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THE PEREGRINATIONS 
OF POLLY 

a Come&p in <©ne 3lct for female Characters* 



By HELEN P. KANE 

AUTHOR OF A BUNDLE OF MATCHES, THE WHITE DOVE OF ONEIDA 

THE UPSETTING OF JABEZ STRONG, THE FUTURE LADY 

HOLLAND, ETC., ETC. 



Copyright, 1908 by Dick & Fitzgerald 



* 



NEW YORK 

DICK & FITZGERALD 

X8 ANN STREET 



Note. — The professional acting rights of this play are ex- 
pressly reserved by the Publishers, to whom theatrical man- 
agers who wish to produce it should apply. Amateur rep- 
resentation may be made without such application and with- 
out charge. 

THE PEREGRINATIONS OF POLLY. 



CHARACTERS. 

Polly Stirling A Bachelor Maid 

Margaret Ashe, her friend Another Bachelor Maid 

Siva : Their Servant 

Time of Performance. — About forty-five minutes. 

Locality. — New York City. Time. — The present. 



COSTUMES. 

Modern and up-to-date. 



INCIDENTAL PROPERTIES. 

Several letters and notes, newspapers, messenger book and 
two rings. 



STAGE DIRECTIONS. 

As seen by performer on the stage facing the audience. 
R. means right hand, c, centre, l., left hand. D. l., door 
in left flat. d. c, door in rear flat. d. r., door in right flat. 
up, means up stage towards rear, down, down stage towards 
footlights. 

3 



© CI. D 24747 



THE PEREGRINATIONS OF POLLY. 



SCENE. — A room modernly and prettily furnished. Couch 
down l., piano R. c, two or three chairs, a low seat, pile 
of cushions on floor, table c. set for dinner, screen up l. 
with small gas stove behind it. Doors c. of rear fiat 
also r. and l. DISCOVERED Margaret looking in 
oven of gas-stove. 

Margaret {calling). Oh, Polly! 
Polly {off stage). Hullo! 
Marg. It's 'most done. 
Polly. Want me to set the table? 

Marg. That's done. {Taking dish from oven and carry- 
ing to table) 

ENTER Polly d. l. 

Polly. You are the most expeditious young woman, 
Peggy. I hadn't half finished. 

Marg. {setting things on table). When I'm "Margaret," I 
do things with due deliberation, and a regard to the station 
in life whereunto I was born. When I'm " Peggy " I hustle 
as do most of the people in the station in life whereunto I 
am called not born! 

Polly {laughing). Dirck ought to see the " Stately Mar- 
garet" when she condescends to get our dinner. Has he 
written you any sonnets since yesterday ? 

Marg. Ne'er a wan ! I think his devotion is cooling. 

Polly. If he had been a clairvoyant it would have frozen 
long ago. 

Marg. {laughing). He is, in some things, but he is stone 
blind in this. I have a great liking, theoretically, and at 
this distance, for little Queen Wilhelmina, but her subject 
is another matter. 

_ Polly. Just wait till my great painting is hung on the 
line; and all the critics are dumb with admiration before it. 
I'll take you over to Holland then, for a go-as-you-please 

3 



4 the Peregrinations of Polly. 

time among the dykes and dunes of the Zuyder Zee, that is, 
provided Dirck doesn't pre-empt my claim. 

Marg. You may as well stake your claim. Dirck doesn't 
appeal to me. 

Polly. Peggy! He has been appealing to you for the 
last six months! 

ENTER Siva d. c. 

Siva (presenting note in the corner of her apron). A note 
for Mees Marg' ret. Dhe messenger waitin', you answer? 

Marg. (taking note). No, no answer, Siva. (Lays note 
"beside her on the table. Siva goes lingeringly) 

SrvA (at door). He say dhe gent'man tell heem wait. 

Marg. (quietly). Tell him I'll ring up the office if I want 
him. [EXIT Siva d. c. 

Polly (looking at note, and laughing). He is insistent. 
Bead it, Peggy. 

Marg. (opening note — sings with comic pathos) 
Still sounds the song; 
The same old song! 

(Air " Old Lang Syne") 

Polly. If it's not a breach of confidence? 

Marg. (with dignity). Oh, not at all, you stand in the 
position of Eather Confessor, or Mother Superior, I don't 
know which. Really, Polly, you are the most self-possessed, 
and unknowing of Ejiow-it-alls. Never a quiver of the 
eyelashes. You are the safest kind of a depositary. 

Polly. I'm waiting impatiently 

Marg. (reads) . " Oh, fair, pale Margaret ! 
Oh, stately Margaret — " 
He's been reading up on Tennyson ! 

Polly. He ought to see your pallor just now. 

Marg. (severely). Comments from the audience interrupt 
the scene. 

Polly. You give the cue, and I'll start the claquers. 

Marg. (reads). "One weary day is as a thousand years." 

Polly. That's Scripture; but he got it mixed. 

Marg. (resignedly). I don't know how I'm to do justice 
to it if you interrupt. 

Polly (laughing). Let me read. 

Marg. (laughing). Couldn't. He asked me one day if 
anyone else ever saw his letters; and I could truthfully an- 
swer "no." 



The Peregrinations of Polly. 5 

Polly {tragically). " Oh fickle, false, and fair! 

With golden-gleaming hair! 
Forever singing by the sounding sea." 
There you are, Lorelei and poor Dirck, on the billows, drift- 
ing ever nearer and nearer the rocks, where you wait to 
gobble him up. Or was that Circe or the Sirens? I'm get- 
ting mixed. 

Marg. (laughing). Oh, Polly, what next? 

Polly (with injured gravity). You do not take me seri- 
ously, Margaret! some day I shall take the world by storm. 

Marg. (laughing). And meantime you are coloring photo- 
graphs at ten cents apiece, and I am doing scrub work for 
the newspapers. 

Polly. You're not very polite when you call the society 
column, " Scrub work." And moreover than that, you don't 
look like a " Scrub-Lady " when you start out for it. 

Marg. Well; there are ways and ways to earn your bread 
and butter. I certainly never would have chosen this way. 

Polly (laughing, and beginning to clear the table). Lis- 
ten to dear old Dinah. " If you can't have what you like, 
it's better to like what you have." Besides that's how 
Mynheer Dirck Van Lentze found you. 

Marg. (putting things away, and re-setting the table with 
books, etc.). I haven't sung "We praise Thee, O Lord," 
for that yet. 

Polly. You might try, " Now dismiss us with Thy bless- 
ing," but I haven't heard the end of it. 

Marg. (folding note, and laying on desk). Oh, it's like all 
the rest. 

Polly. Why did he insist on waiting for an answer, then ? 

Marg. (laughing, but a little confused). That was the 
postscript; and I shall have to ring him up. He wants me 
to attend the symphony concert to-night. 

Polly. Peggy, you lucky girl. (Coming to her coax- 
ingly) Don't you need a chaperon? 

Marg. (hesitates). I am not sure that I shall go. 

Polly. Things getting too pressing? 

Marg. Oh, it seems mean to let him give me a pleasure, 
and then put it into the " Letter from Olivia." (Hesitates, 
then laughs) In a way, it is letting him contribute to my 
support. It isn't as if I were just a girl, and he wont treat 
me as a reporter. (Sits suddenly in arm-chair, absently 
folding note. Polly comes over, and sits on the arm of 
Margaret's chair, and puts her hands on her shoulders) 



6 The Peregrinations of Polly. 

Polly. Peggy. 

Marg. (looking up, then dropping her eyes). Yes? 

Polly. You went with Ray Tryon last week. 

Marg. (slightly embarrassed) . I know it. 

Polly. You weren't a bit sensitive about that ; and Ray 
has been making love to you, with varying degrees of in- 
tensity, for two years. What's the difference? 

Marg. (laughing). Oh, Ray's easily handled. 

Polly. And the Dutchman isn't? 

Marg. Polly, he's tn-sistent, and consistent, and re-sis- 
tent, and per-sistent, and every other kind of a "sistant" 
except c?e-sistent. And I — 

Polly. And you remember his forbears in the Thirty 
Years' war. 

Marg. (laughs slightly). It just amounts to this, I must 
keep him or let him go. (Hesitates) 

Polly. Well, I suggested dismissing him with your 
blessing. Where's the difficulty? 

Marg. (laughing). If I dismissed him with my blessing, 
he'd come back again. 

Polly. And a lady can't do the other thing, except on the 
stage. Peggy. 

Marg. Well? 

Polly. I am not of a suspicious nature, Peggy; but the 
circumstantial evidence seems to me to point toward Hol- 
land as your future residence. 

Marg. (laughing). Not suspicious. You're a veritable 
Sherlock Holmes, or a Thinking Machine. I believe that's 
the latest genius in that line. I wouldn't trust the most 
duplicitous person alive, before those gray eyes of yours, 
Polly. 

Polly. Didn't know I was so clever. But, why don't you 
dismiss Dirck and be done with it? 

Marg. (quickly). Why don't you dismiss Ned, and be 
done with it? 

Polly (jumping up). Now that's what I call a back- 
handed thrust. I wouldn't have thought that of you, Peggy. 

Marg. (laughing). I asked you a question. 

Polly (with sudden dignity). It is a different case, 
entirely. 

Marg. (demurely). I am not clever like you. Kindly state 
the difference. 

Polly (a little confused). Why, Ned is an old friend, and 
[Dirck is a new one. 



tfhe Peregrinations of Polly, 7 

Marg. (mischievously). Proceed. 

Polly (hesitating). And Ned knows when I say a thing, 
I mean it, and Dirck has no previous experience — ap- 
parently. 

Marg. (quickly). And both insist "upon "yes;" and 
neither will listen to " no." It is a different case — 
entirely! (Knock at door) Come. 

ENTER Siva d. c. with handful of letters. After Polly 
takes them, she stands waiting. 

Polly (takes letters, and speaking quickly). I thought I 
heard the postman. (Distributes letters. Sings) 
Two for you, and three for you, 
" And never, oh, never a one for me." 

(Chancellors song, " Iolanthe") 

Marg. (laughing). You're not "giving agreeable girls 
away ; " but you're giving away the perquisite of an agreeable 
girl. (Gives back letter) 

Polly (putting letter in her belt with apparent indif- 
ference). Oh, I didn't see that. 

Marg. I did, I knew it was his day and his envelope. 
(Teasing) What does he say, Polly? 

Polly. Oh, it will keep. There's never any hurry about 
his letters. (Sees Siva) Were you waiting for something, 
Siva? 

Siva. I like speak Mees Marg'et. 

Marg. (turning, and speaking kindly). Yes, Siva, any- 
thing I can do for you? 

Siva (twisting the corner of her apron, and beaming). 
'Tis one gent'man, Mees Marg'et, ver' gran' gent'man. He 
talk so I un'stan' like heym-spraak, he come down stairs, 
he not ask see Mees Marg'et, but he say, tell her he have 
auto at door at eight 'clock. Dhat all. (Beams) 

Marg. That's all. You're sure you had the message right, 
Siva? 

Siva (earnestly, but still beaming). Oh, I cannot meestak, 
Mees Marg'et, he talk like he yust come from Amsterdam, I 
cannot meestak. 

Marg. Very well. Thank you, Siva. (Margaret sinht 
into a chair with an air of comic despair) I have no choice, 
it seems, this time. [EXIT Siva d. c. still beaming. 

Polly (mockingly). There's nothing the aboriginal wo- 
man understands so well as mastery, mastery, in large 
Koman text, and I have noticed we're most of us aborigines 



3 The Peregrinations of Polly. 

to a certain extent. {Laughs heartily) He won Siva, sure. 
He has an ally in the camp, Peggy. (Margaret looks at her 
dubiously, and Polly laughs again) My congratulations, my 
dear, that you are forced to enjoy some music, whether, or 
no, or not, as our old Letty used to say. And my respectful 
hopes that you may enjoy the escort, too, to a certain extent, 
my Lady. (Courtesies deeply) 

Marg. (reflecting soberly). I really don't see any way, but 
to put on my " glad rags " and go. 

Polly (still mockingly). You might take advantage of 
the opportunity to give him that dismissal, and so avoid such 
come-up-ances in future. 

Marg. (vehemently). Polly. That would be dastardly. 

Polly (meekly). That's what one gets for trying to be 
helpful. Have you noticed the clock lately? 

Marg. (jumping up and looking at clock). No. Time I 
had. [EXIT d. r. 

Polly (calling after her). Can I help? 

Marg. (outside). No, thank you. Plenty of time. 

Polly (sittina in arm-chair). All right; I'm here, if you 
want me. (Picks up paper from table, and glances over it. 
Suddenly stops, takes letter from belt, and inspects post- 
mark) What ? 

Marg. (off stage). Did you call me? 

Polly. No. (Studying letter) He is — oh, dear! 

Marg. You seem to be having an interesting conversation. 

Polly. It's not interesting. 

Marg. What's the matter? 

Polly. Oh, nothing! 

Marg. Emphatic — for " nothing ! " 

Polly (absently opening letter). I found some news in 
the paper, that's all. 

Marg. Anything touching my line? 

Polly (reading letter and frowning). Quite the reverse. 
Well, yes, perhaps it is. (Provoked) Oh, I don't know. 
(Exasperated) Don't ask me! 

Marg. (laughing off stage). Is he so uncomfortable as 
that? 

Polly. Oh, do pay some 'tention to your dressing, Peggy. 
I'm busy. (Knock d. c.) Come. 

ENTEE Siva d. c. 

Siva (presenting note and messenger's book)* A note for 
Mees Pollee. 



The Peregrinations of Polly. 9 

Polly (signing book). All right, Siva. 

Siva (hesitating). Dhe messenger say, any answer? 

Polly (laying note on the table). No, no, I'm busy now. 
Tell him no answer, Siva. [EXIT Siva d. c. 

Polly. Oh, it's such nonsense, and I'm not ready to " call 
it off." (Puts down letter irritably, and sees note on table, 
takes it up and opens absently) Another. (Reads, and as 
she goes on, smiles whimsically and ends by laughing 
heartily) 

ENTER Margaret d. r. in evening dress. 

Marg. You might let me share the fun. 

Polly (laughing almost hysterically). It is the joke of the 
season. Listen to this, Peggy. (Reads) " Polly dear — " 

Marg. (musingly). Dirck has never reached that point — 

Polly (energetically). Margaret Ashe, I cannot tolerate 
such invidious distinctions. Ned has known me since we 
both were pinafores, and paddled in the brook together. 
(Stopping suddenly) Do you know that is the lovliest brook 
that runs at the foot of our garden. Peggy, you will never 
know what a brook can be, till you see those that race through 
Renfrew, straight from the heart of old Greylock. The way 
they go dashing and foaming and tumbling over the rocks, 
(Very animated) leaping out into the sunshine, and swirling 
in the deep shadow and never ceasing their bright mad dance 
down into the valley. It takes my breath away just to think 
of it. And then the silent majesty of beautiful old Grey- 
lock, lording it over all the land. (Gaily) Peggy, some 
day I'm going to paint old Greylock against the evening sky, 
the sky after the sun has set, all soft rose, with little clear 
green lakes in it, and just a touch of the rose tinging the 
bold gray summit, and the lower forests all in deep shadow. 

Marg. Good, I can see it! 

Polly (enthusiastically). You shall see it. 

Marg. That is the one to be hung on the line. But to 
resume — Polly dear, I haven't yet heard the joke of the 
season. 

Polly (laughing). Well. (Picks up letter which she has 
dropped, then stops suddenly) Peggy, would you call me a 
failure ? 

Marg. (warmly). Failure. 

Polly. Well, Ned does, he says he gave me three years 
to make a success, and the three years haven't " panned out/* 
and I'd better " call it off." (Smiles dubiously) 



10 The Peregrinations of Polly. 

Marg. He gave you three years. 

Polly {laughing). Well, you see, in the beginning, Ned 
was very, very much set against my career. He talked to me, 
and when he found that did no good, he talked to father and 
mother. 

Marg. {laughing). Which did less good, as far as you 
were concerned. 

Polly. Exactly. {Also laughing) I told him it was 
unwarrantable interference. 

Marg. Naturally, and then you came away. 

Polly {hesitating). Yes, only first he talked to aunt 
Chloe. 

Marg. More interference. 

Polly. Yes. {Dubiously) But you see aunt Chloe is 
different. Father and mother said : " Polly must choose for 
herself," and used a few well-worn proverbs, like — "When 
a woman wills " etc. 

Marg. And "Lying in the bed you make." {Sympa- 
thetically) I know that sort of wisdom; it was all invented 
to give people a chance to say : " I told you so." 

Polly. Well, aunt Chloe said nothing of the sort. I 
wish you could see aunt Chloe. She's a little Dresden-china 
bit of a woman, dainty and exquisite in everything she does 
and wears; but it's the iron hand in the velvet glove. That 
clear voice of hers, with its quaint inflections, comes from 
Quaker folk, and she is apt to use their speech. Her " yea " 
is " yea," and her " nay " is " nay," and there's no appeal. 

Marg. And she said? 

Polly {smiling dubiously). " Thee may give her three 
years, Edward." Not a word more or less. It was final. 

Marg. {laughing). Well? 

Polly. Well, Ned stopped teasing for promises, and just 
said ; " Polly, I'm going to write to you, whether you write 
to me or not." 

Marg. He has, I'll bear witness to that. 

Polly. " And in three years I shall come to take you 
home." 

Marg. {musingly). Polly — somewhere, in the background 
of my mind there is something about "Mastery" and the 
" Aboriginal Woman." 

Polly {with dignity). That argument applied to another 
case. 

Marg. {mischievously). And an entirely different on«. 
When are the three years up? 



The Peregrinations of Polly. 11 

Polly (hesitating) . Why, that's what the letter is about. 

Marg. (significantly). Oh ! 

Polly. And his first letter came from the Hoffmann 
House, instead of Kenfrew. 

Marg. Oh ! 

Polly. There's a certain monotony in your remarks, 



Marg. Perhaps, there's none in yours. So there was a 
second letter ; where did that come from ? 

Polly. From the club. (She smiles mischievously) It's 
a sort of repliqua of another. (Reads) " While waiting for 
aft answer to. my first letter, I nicked up the paper; and I 
see that the symphony concert is on for to-night. I know 
you would rather listen to it than to me, so if you have no 
previous engagement, I will have an auto at the door at 8.15. 
Send word by messenger, if you cannot go. Hastily." (Both 
laugh heartily) \ou see. (Laughs again) 

Marg. I see, you didn't send word. Time you got into 
your festive apparel. 

Polly (musing). Hm; yes; Peggy — (Pauses) 

Marg. I'm waiting 

Polly. I was thinking — (Pauses again) 

Marg. You seem to have " fallen upon thought." 

Polly. I think — Peggy — I am tempted to take a base 
advantage of circumstances, and incidentally of two young 
men. 

Marg. 'Oh! 

Polly. This is the third time you have said that ! 

Marg. You mean? 

Polly. There will be one auto at the door at eight, and 
one at 8.15. Peggy. (Pauses) Suppose we exchange 
escorts ? 

Marg. (springs up and stands facing Polly). Polly! 
You mean it. 

Polly (looking up at her and laughing). Hm — hm. I 
mean it. How does it strike you? 

Marg. (suddenly dropping on the floor). All of a heap. 

Polly (laughing). Apparently. But beyond that? 

Marg. (keenly). So you want to put off the evil day? 

Polly (ignoring her question, and talking very fast). It 
wouldn't do one bit of harm, and we could do it. We're 
about the same height and it's not very well lighted just 
here. We need not say much, and could be non-committal, 



12 The Peregrinations of Polly. 

and those too insistent young men need not know till we're 
in the lobby. 

Marg. And then? 

Polly (laughing). Then I suppose we shall have our 
hands full. But they can scarcely refuse to take us into 
the house. (Margaret considers) Will you? 

Marg. I don't know Ned. How would he take it? 
(Dubiously) And me? 

Polly (lightly). Oh, he's a gentleman; and he couldn't 
mistake you. 

Marg. (considering). I might say you were to be at the 
same concert, and as I knew he must have tickets, I thought 
it only kind to go with him, and look you up. (Hesitates) 
It's a little out of the usual. 

Polly. Ye-es, a little out of the usual, but it will do. 
You might strengthen the position a little. I shall have to 
invent something for Dirck 

Marg. Shall have to. I haven't yet said I will. 

Polly (jumping up). But you meant it. (Laughing) 
You're not an ideal friend, Peggy. You don't even meet 
one-half way. But I haven't time to score you on that; I 
must hustle, if I am to be ready for Mynheer Dirck at 
eight. [EXIT d. l. 

CURTAIN. 



SCENE.— The same. Time midnight. Low light. ENTER 
Polly d. c. cautiously. She draws off her gloves and 
throws her cloak on chair, stands a moment as if unde- 
cided, then moves toward, d. r. 

Polly. It's a shame to disturb her first sleep, but I don't 
want to wait until morning. (Stands at d. r. and spealcs 
softly) Peggy! (A little louder) Peggy! (Waits a mo- 
ment then turns hack into room) She sleeps unusually well. 
I wonder if that is due to the concert or Dirck? (Hesitates 
then laughs) No help for it, Peggy dear, I have to unburden 
my soul. (Goes into room r. and returns almost immediately 
laughing, and throws herself into armchair) Not in yet, 
and all my caution wasted. (Springs up quickly catching 



The Peregrinations of Polly. 13 

up coat, gloves, etc.) What a chance I was in before twelve, 
five minutes before twelve. (Runs off d. l., laughing. Off 
stage singing) " As we sat in the low-backed car." ( Air. 
"A low-backed car." Hums the rest of the phrase, then 
laughs) There is a streak of the Green Isle somewhere in 
you, Polly. The lilt o' the Irish song's in your blood. 
(Hums another phrase of the song then comes in, in long 
kimona, looks about quickly, piles up the pillows and throws 
herself on the couch) I've been asleep for hours. Peggy 
will hardly be able to wake me. (Laughs) Such luck, to be 
home first, after such a ride! (Muses) I never knew 
Central Park could be so beautiful. Ned said so too, after 
he finished storming about the concert and the " other 
fellow." (Laughs) But I made it up to him. I wonder 
how Peggy made her amends (Laughs again, then sits up 
suddenly, listens, and throws herself on the pillows as if 
asleep. After a pause, ENTER Margaret d. c. cautiously. 
Is about to go into her room, when she sees Polly ; stops, and 
looks at her smiling as she throws off cloak, and throws 
gloves down on table) 

Marg. Too bad to wake her. But then she didn't mean 
to sleep here all night; and I must talk. Dirck didn't give 
me a chance for a word, after he got the one word. But then 
he had provocation. And he had to be polite to Polly 
all through the concert, while Ned was being polite to me. 
Wonder what he said after we exchanged? (Laughs softly. 
Polly stirs slightly, throwing her arm above her head, and 
turning her face from Margaret) She must have come in 
early. (Puts her hand softly on Polly's forehead) Polly 
dear! 

Polly (stirring sleepily, and partly opening her eyes). 
'Most breakfast time? 

Marg. 'Most. Thought I'd like an early morning talk. 
(Polly's head has dropped, and she has nestled down as if 
asleep again) Oh, Polly, don't go to sleep again. I shall 
never have the conscience to waken you a second time. 

Polly (rousing). Why — where — oh, I remember, I didn't 
go to bed; I was waiting for you, and I must have gone to 
sleep. (Sleepily) What time is it, Peggy? (Yawns and 
stretches) 

Marg. Oh, not very late. 

Polly (looking at her sleepily). No — you haven't un- 
dressed yet. 

Marg. No, I've just come in. 



*4 ^he Peregrinations of Polly. 

Polly {looking sleepily at clock, then starting up). Peggy, 
what scandalous hours. Look at that clock. 

Marg. (sweetly). Social duties, Polly; think of the letter; 
" Olivia " will be $10.00 in, from the symphony concert. 

Polly (severely). Peggy, I suspect you of duplicity. The 
last number ended at quarter before eleven; where has 
" Olivia " been since ? Getting up an article on " New York 
at Midnight?" 

Marg. My articles were not what I waked you for. I 
want to know 

Polly (interrupting). So do I — (Sitting up suddenly, 
she thrusts her feet out from under her robe, and clasps her 
hands on her knees, Margaret sees her slippers, and inter- 
rupts in her turn quickly) 

Marg. What time you got in ? You still have on your 
festive slippers, oh, Polly, Polly! Talk of my duplicity. 

Polly (laughing). I hadn't time to change them. 

Marg. (severely). And then to reprimand me. Where 
have you been since 10.45? 

Polly (meekly). Seeing I'm found out, I'll turn state's 
evidence, and confess. In Central Park. Now it's your 
turn. 

Marg. (laughing). Up Riverside Drive. We couldn't get 
back very early, you see. 

Polly. " We " never went off on a midnight drive before. 

Marg. (hesitating). No-o. The circumstances were a 
little peculiar, you know. 

Polly. Ye-es? He said that. 

Marg. (laughing). He did. And what else? That is 
precisely what I waked you for. 

Polly (musing). Well, it was a good deal on the 
" Aboriginal " line. 

Marg. Polly. You don't mean that he was autocratic 
with you. 

Polly (briefly). Very. 

Marg. (slowly). I don't think that was quite nice under 
the circumstances. 

Polly (laughing). I excused it, under the circumstances. 

Marg. What did he do when you first got in? 

Polly. You really want to know? (Margaret nods) 
Well (Pauses, then laughs a little) he just put out that 
strong right arm of his ; and drew me close to him, and said, 
" To have and to hold, for better and worse." 



The Peregrinations of Polly. 15 

Marg. (interrupting in a shocked tone). Polly, he didn't. 
You are fooling. 

Polly (seriously). He did, and I can't see anything so 
shocking in it under the circumstances. 

Marg. (passionately). You may excuse it if you like, I 
will never excuse it. Oh, why did I let him? Why did I 
let him ? Oh, Polly, how could you ? 

Polly (looking at her wonderingly) . Why Margaret, 
what is the matter with you? (Rising and taking her 
hands) Child, you are actually trembling; and your hands 
are cold as ice. I don't see anything so very dreadful in it! 

Marg. (snatching her hands away angrily, and drawing 
ring from her -finger, and throwing it from her). I never, 
never will believe in a man again. 

Polly (a light oreaking on her). Oh. (Suddenly chang- 
ing her tone) All the same, I've promised to marry him. 

Marg. (coldly turning from her). As you please, so did I, 
and I never will forgive myself for it, as long as I live. 

Polly (throwing herself into armchair, her face full of 
fun, hut speaking quietly). We can't both, you know. 

Marg. (coldly). You may count me out of the running, 
if you please. 

Polly (demurely). Why, yes, I'd rather, so far as Ned is 
concerned. 

Marg. (turning swiftly). Ned! 

Polly (demurely). You didn't think I had any interest 
in any other " strong right arm," did you ? Peggy, I have 
actually succumbed, buried the Articles of War; and signed 
a Treaty of Domestic Peace. (Margaret suddenly goes 
down on the floor, groping and searching where she has 
thrown the ring, Polly, sitting in the armchair, with her 
arms thrown up over her head, is smiling to herself, and 
doesn't see what she is doing. Pause) Well, haven't you a 
word to say to this very important change in my scheme of 
existence? (Looks around, and sees Margaret on floor) 
Peggy, what are you doing there? 

Marg. (searching). Oh, what did I do it for? I can't 
find it at all. 

Polly (coming ove>). What is it? 

Marg. My ring, I can't find it. 

Polly. Did you drop it? (Getting down to look) 

Marg. (sitting upon her knees). No, in a fit of temper, 
I threw it as far as I could, because I thought that was 



16 The Peregrinations of Polly. 

Dirck's "strong right arm" {Laughs, half , crying) IVe 
thrown it away, and I can't find it. (Searches again) 

Polly (finding ring, and hiding it in her hand). What 
was it, a solitaire? 

Marg. Yes, I think so, I don't know, I didn't look at it. 

Polly. Oh, well, then any other will do; I'll lend you a 
solitaire I have, to wear till you find it. 

Marg. (distressed). But he will know. It was his 
mother's betrothal ring, and his grandmother's (Half 
laughing and half crying) and for aught I know, his great- 
great-great-great-grand-mother's, and I've thrown it away. 

Polly (rising and laughing). Oh, well, if they've had it 
as long as that, " any old thing " will do. How about this ? 
(Shows ring on her left hand. She has slipped the other 
on her right hand, with the stone inside) 

Marg. (troubled, touching the ring). No, it didn't feel 
like that. (Examines ring) I never saw you wear that ring 
before. It is a beautiful stone; what is it? 

Polly (smiling mischievously). I haven't had it very 
long. It is a tourmaline. I always said I would have a 
tourmaline for my engagement ring, and Ned remembered. 
(Dolorously) He has a dreadful memory! 

Marg. (penitently). Polly — what a selfish beast I am. 
You did say something about "burying the hatchet," and I 
didn't say a word. (Takes Polly's face between her hands 
and hisses her) 

Polly (laughing). It wasn't the " hatchet; " but that will 
do just as well. (Shows other ring) This is an old family 
ring, do you think this might do? 

Marg. (looking at it and hesitating). I don't know. 

Polly (slipping it on her finger). Suppose you try if he 
will know the difference. 

Marg. (turning it on her finger, then stopping suddenly 
and laughing). Polly, you wretch. That is the one. (Puts 
her hands on her shoulders and shakes her) 

Polly (demurely). I know it; but you were so slow about 
congratulating me, I thought you wouldn't mind a little 
delay. (Courtesies deeply, laughing) A long life, and a 
happy one, my lady! 

Marg. (catching her about the waist, and kissing her again, 
laughing). Polly, Polly, how I shall miss you. 

Polly (meditatively). Lucky I didn't "stake my claim." 
'Twould have been a bit previous. 



The Peregrinations of Polly. 17 

Marg. (laughing). Besides, Ned might have objected to 
two of us! 

Polly (meditatively). He didn't suggest Salt Lake; but 
after this evening, I am not sure. The Aborigine might 
shoulder her pack, and walk meekly after if he led. 

Marg. (laughing). Is the change so radical? It hasn't 
worked out yet. (Hesitates) Polly, one reason why I just 
had to wake you to-night 

Polly (interrupting). This morning, you mean! 

Marg. (seriously). Was a very serious one. (Pauses) 

Polly. I thought so. 

Marg. But you don't know it all yet. (Hesitates again) 
There are important family matters which call Dirck home, 
very soon. In fact he is obliged to sail on the Friesland. 
(Hesitates again) Saturday. 

Polly (interrupting). And he will take passage for 
Mynheer Van Lentze and " My Lady," oh, Peggy. I never 
thought you could be so headstrong! 

Marg. It is, atrocious haste, Polly, but a cousin has died; 
and he goes home to large responsibilities. 

Polly (commiseratingly) . Too heavy to carry all by his 
lonesome. He is very frail. His six feet and his broad 
shoulders are just a bluff. 

Marg. (laughing). But it does seem mean to leave you 
here, all by your lonesome! 

Polly (tragically). Peggy, I never could bear it, never! 
(Sings with exaggerated sentiment) 

Like the last rose of summer 
Left blooming alone. 

(Air "Last Rose of Summer") 

Marg. (laughing). You need a head gardener to scatter 
your leaves. 

Polly (demurely). I had already anticipated that, or 
rather Ned had, and 

Marg. (interrupting) . Oh, Polly, Polly, you don't mean to 
say his cousin has died; and he must sail on Saturday? 

Polly (laughing heartily). N — no, not exactly, but he 
says he had promised aunt Chloe to have me there for her 
birthday fete; and the invitations are all out for a lawn 
party to meet me. He gave me one and I haven't looked at 
it yet. (Takes it from her dress and gives to Margaret) 

Marg. (reading and laughing). Polly, who got this up? 

Polly (looking over her shoulder and reading). " To pre- 



18 The Peregrinations of Polly. 

vent future peregrinations on the part of Polly," sounds very- 
like Ned. 

Marg. {reading). "We propose a Perpetual Prohibition, 
pronounced by the Eight Keverend Dr. Hollis, Polly. 

Polly {laughing). Oh, that's Ned. Only wait until I 
get at him. But there's no help for it, Peggy. I've promised 
to go, and be "Prohibited." You know I told you aunt 
Chloe's " yea " was " YEA." 



QUICK CUKTAIN. 



£ 



Plays for Female Characters 

CHEERFUL COMPANION, A 15 cents. A duologue for two female 
characters, adapted from a Character Sketch by Ina Leon Cassilis. Parlor scene. 
Time, 25 minutes. A lady of refinement advertised for a cheerful, musical companion, 
a good reader. She has one applicant, who proves to be tearfully doleful, garrulous 
over disappointed love failures, and an unmitigated bore. A fine scope for character 
delineation. 

CRANFORD DAMES. 15 cents. A play for 8 or 14 female charac- 
ters, by Alice Byington. a interior scenes. Costumes of sixty years ago. Time 
of playing, \% hours. A clever adaptation of Mrs. Gaskell's Cranford," which 
is perhaps one of the finest pieces of humoristic writing within the entire range of 
English fiction. The delicate pathos, the subtle humor, the quaint atmosphere of the 
book have been well preserved in the play, and the result is a series of episodes almost 
wholly devoid of that element called plot, but possessed^ none the less, of a charm that 
cannot fail to please the audience. The piece is easily managed, and will prove a 
strong attraction for young ladies' representations. 

GERTRUDE MASON, MIX; or, The Lady Doctor. 15 cents. 

A farce in i act for 7 female characters, by L. M. C. Armstrong. Plain room scene 
or no scene at all. Runs 30 minutes. An exceedingly bright piece for young ladies, 
in which young Dr. Gertrude, already a victim of circumstances, is made the victim 
of a practical joke. The scenes with Mrs. Van Style, who mistakes the doctor for a 
pawnbroker, and Miss Jane Simpkins, who brings a sick dog to be cured, are hilari- 
ous, while Nora, an Irish cook, is deliciously droll. The cook is the star of the 
piece, but all the personages are vivacious and every situation bristles with fun. ^,_. 

LOVE AND A "WAY. 1 5 cents. A comedy in 3 acts and 1 scene, by 
Evelyn Simms. 4 female characters. Scene, a sitting-room. Time, \% hours. 
Phyllis, a young girl, loving and beloved by Jack Petnberton, a rich young man, 
refuses to marry him because her maiden aunts consent and every one wishes it. 
Jack is reported to have lost his fortune, and now she wants to vsxvcrcyjack, with whom 
her aunts forbid any communication. By the aid of her friend Beatrice an elopement 
is planned and carried out, and a most surprising climax is sprung upon the audience. 

MAIDENS ALL FORLORN. 1 5 cents. A comedy in 3 acts and 
x scene, by Evelyn Simms. 6 female characters. Scene, a parlor in a seaside cottage. 
Time, i% hours. Three young girls chafing under the monotony of a man-forsaken 
resort, write Teddy to come and visit them. Teddy cannot come, but answers that 
his friend Dr. Jocelyn Denby will^ come and help while away, the time. Great 

g-eparations are made for his reception, including much interest by a Maiden Aunt. 
ach prepares a present to bestow on the Doctor, and feigns an ailment to interest 
him. The Doctor arrives — a woman. The climax, deftly worked out, is sprung on 
the audience at the last moment, and insures the play a complete success. The char- 
acters are all good, the Maiden A unt and Mrs . Moloney are great character parts. 

MURDER WILL OUT. IS cents. A farce in 1 act, for 6 female 
characters, by L. M.Elwyn. Time, 30 minutes. A breezy and effective farce, in 
which half a dozen bright girls can delight an audience with half an hour of innocent fun. 
Grandmother Stiles and her demure but frolicsome granddaughter are excellent charac- 
ters; Dinah, the colored cook, is amusing, and Bridget O 1 Flaherty is a f unny Irish 
girl — her quarrel with Dinah being exceedingly laughable. The attempts of Lena 
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exposure, will keep the audience in a ripple of laughter. No scenery required. 

SOCIAL ASPIRATIONS. 1 5 cents. A comedy in i act and 2 scenes, 
by Helen Sherman Griffith. 5 female characters. Bedroom scene afterwards 
transformed into a parlor. Plays about 45 minutes. A highly entertaining comedy in 
which Mrs. Chick and her two daughters from the United States are in Paris, bent on 
an extended tour, but meet with a Countess, who proposes to introduce them into 
fashionable society. They feel flattered and make a great fuss over the Countess^ 
who turns out to be a lady s maid dressed in her mistress' finery, and is betrayed by 
the housemaid of the pension. Disillusionment and exciting climax. 

MY AUNT'S HEIRESS. 15 cents. A comedy in 1 act. n female 
characters. Parlor scene. Modern costumes. Time, 1 hour. Has a " Cinderella " 
sort of plot in which a rich widow adopts a ruse to decide which of her seven nieces 
shall inherit her fortune. It shows that envy and jealousy don't pay, and that striv- 
ing to make others happy is the best way to gain happiness for ourselves. Two of 
(he characters can tie played by one girl. No scenery required. 



MISS MOSHER of COLORADO 

OR 

A MOUNTAIN PSYCHE 

COMEDY-DRAMA IN FOUR ACTS, BY A. S. RICHARDSON. 

PRICE 25 CENTS 

Five male, three female characters, including a Denver capitalist, an 
enterprising young man, a Wall Street broker, a rich, nervous man, a 
Colorado heiress and her mother, a maiden lady, and a butler. Time of 
playing, 2 hours. 

SYNOPSIS OF INCIDENTS. 

Act I. — The ranch near Denver. Mosher's addition. Mosher means to 
cut a dash. A turn of luck. Choosing dollars instead of fove. 

Act II. — At Lenox, Mass. An odd pair of lovers. The rough course 
of true love. Filial devotion. Love's awakening. A mother's love. 

Act III. — Preparing for the ball. A surprise for Leta. A close call. 
Dallas again. 

Act IV. — After many days. False pride is broken. Story of Dallas. 
Leta's ultimatum. Shaking hands and calling it square. 

MY LADY DARRELL 

OR 

A Strange Marriage 

A DRAMA IN FOUR ACTS, BY JOSEPH LE BRANDT. 
PRICE 25 CENTS 

Nine male, six female characters, including juvenile leading man, genteel 
heavy, light comedy, straight old man, comedy characters, heavy character; 
leading lady, genteel heavy, character old women. Easy to stage, and 
thrillingly dramatic throughout. Time of playing, 2^ hours. 3 interior 
and 3 exterior scenes. 

SYNOPSIS OF INCIDENTS. 

Act I. — Rural Scene I. — The Paisey farm. "Now, strike if you dare." 
Scene II. — Lord Darren's estate. A strange marriage. 

Act II. — Society drama. Lapse of four months. The plot. The insult. 
The blow. 

Act III. — The abduction. Recognition. "You are the murderer of 
Captain Wyndham. 

Act IV. — Melodrama. In London. "I'll rescue her if it takes the last 
drop of blood in my veins." The Beggars' Paradise. Finale, 



mSBSB&L 

Ml 

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HHT 

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ural 

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YE VILLAGE SKEWL OF LONG AGO. 1 Scene. 13 12 

FAMILIAR FACES OF A FUNNY FAMILY 8 11 

JOLLY BACHELORS. Motion Song or Recitation 11 

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COUNT OF NO ACCOUNT. 3 Acts ; 23^ hours 9 4 

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DELEGATES FROM DENVER. 2 Acts; 45 minutes 3 10 

DOCTOR BY COURTESY. 3 Acts; 2 hours 6 5 

EASTSIDE RS, The. 3 Acts; 2 hours; 1 Stage Setting 8 4 

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GYPSY QUEEN. 4 Acts; 2^ hours 5 3 

IN THE ABSENCE OF SUSAN. 3 Acts; 1J^ hours 4 6 

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